Mozart Symphony No. 40 in Gminor

The Development SectionBars 101-164Based entirely on the

opening figure from the first subject.

That’s this bit, here!

Bars 101-105Follows a single G

minor chordChromatic chord

(G#-B-D-F = Diminished 7th) leads to a woodwind chordal and scalic descent in to F# minor (remote key) before the violins enter with the theme

1 2 3

F# Min

Bars 103-114First 4 bars of the

first subject are played 4 times, in octaves, in the first violins.

Played as a descending sequence.

Chromatic harmony (Example = Chromatic chords in the Bassoons, bars 107-114)

107

Bars 114-120Bars 114-115 = V-I in E

minor (modulated)Violas, cellos and Bassoons

have the theme. Violins have a countermelody. This is played staccato to contrast with the legato theme.

Woodwind provides chordal harmony.

In Bar 118, we modulate to A minor and the melody and countermelody switch over.

118

Bars 120-128 Bar 120 D minor

Bar 122 G minor

Bar 124 C major

Bar 126 F major

Bar 128 Bb major

oSee next slide for the score to show the above. oMusic rises by 4 notes every time we modulate.oConstant exploration of different keys is a major feature of the development section.

Pay attention, we have a bit more to do....

Hush there, Goldendoodle! They

are trying to concentrate and you

are very cute and distracting

The Modulation madness of bars 120-128

120

122

124

126

128

Bars 134-138Repeated A in the bassoon, violas and cellos

form a dominant pedal (in D minor)The repeated A’s in the violins add to the effect.

Bars 139-164 Texture is reduced, using the first

3 notes of the first subject as a motif.

The motif is passed around the woodwind and strings, creating a dialogue effect.

Various pedals are used in this passage, first by bassoons, then the horns, then the bassoons take over again until the start of the recapitulation.

F pedal Dominant of Bb minor

G pedal Dominant of C minor

D pedal Dominant of G minor (tonic key)

Dramatically reduced texture

F pedal in the

bassoon

Motif from First subject

Bars 139-164 continued...

Bars 153-160 = forte passage.

Powerful dialogue between upper and lower strings.

Tension is provided by the dominant pedal (D) which only gets resolved at the start of the recapitulation.

1

2

3

And that is all for the development section.

Only the recapitulation and the

coda to go. We are over halfway there

folks!

That’s OK Mozart, I quite

like this symphony and it’s innovative

display of unusual

harmonic tension for the

time.

The RecapitulationNot just a direct repeat of the exposition –

The bridge is extended and the coda is far more developed than would be expected.....

Bars 164-184 are a direct repeat of bars 1-20 in the exposition

Bars 184-227: The Bridge Passage.51 bars long this time, instead of 24!The function of the bridge section in the

exposition is to modulate key between the 1st and 2nd subject. This is not necessary in the development as the 2nd subject will be in the tonic key. So.... Mozart uses this opportunity to further develop the thematic material.

The bridge is needed to provide structural balance to the piece as a whole – A Classical ideal.

Bars 184-227: The Bridge Passage cont...Bar 184-191: Theme begins as

expected but almost instantly modulates to Eb major (Look for Ab’s).

V-I cadence in 190-191Bars 191-227: Tutti section.

Strong forte section heard in the exposition.

Theme is split between upper and lower strings in alternating passages.

Unlike bar 28 in the exposition, we now have a quaver bass countermelody going against the theme.

Bars 184-227: The Bridge Passage cont...Bars 198-211: The parts swap

over (as we have seen happen before)

Music modulates through F minor (bar 198), Eb minor (bar 205), reaching the home key at bar 211.

Bars 211-227 = Bars 28-43 of the exposition, except we remain in the tonic key this time.

Bar 221-225: Dominant pedal (D) in cellos, horn and bassoon preparing for the second subject.

Bar 226: Bar of rest for dramatic pause/anticipation.

Bars 227-260: The Second Subject.Starts on the tonic key.Theme is shared between the

strings and woodwind (like in the exposition).

Reduced texture, dynamics.Bars 241-245: Short passage

modulating to Eb major with a dominant pedal in the cellos and horns.

Bars 245-251: Rising one bar sequences (look at the bass).

Bars 252-254: Perfect cadence (Ic – V – I).Bars 254-260 = Bars 66-72, but

now in G minor (Tonic).

The Coda: Bars 260-299Bar 260-276: 3-

note motif from the exposition is passed between the clarinet, bassoon and flute, with 2 note motif augmented in the violas and cellos.

The Coda: Bars 276-299Scalic flourish

building towards the expected final cadence.

ff passage is interrupted with p woodwind chords, with glimpses of the first subject in the second violins. This is then passed around the first violins, cellos, flutes, clarinets and bassoons.

The Coda: Bars 293-299 Final Tutti,

homophonic of chords I and V.

Finishes with 4 emphatic full stops (G minor chords).

Last 6-bars corresponds with the last 6-bars of the exposition.

I VI I I IV I I I

VV

And that’s all Folks! Now go and listen to

the whole thing, both with the score and looking at your notes. Then answer

the questions on page 33

I hope you enjoyed my

40th Symphony!

KeywordsChromaticChordalScalicRemote KeyDescending sequenceChromatic HarmonyModulateStaccatoLegatoSemitone

CountermelodyDominant PedalTextureMotifSequenceAugmentedHomophonicTuttiPathetique